Relentless

Plenty of the familiar 'B' western conventions are to be found here - a wrongly accused hero pursued by the law, a map marking the location of a gold mine, a glamorous tomboy heroine, a couple of cute horses, and so on. But 'Relentless' also makes immaculate use of the 'A' movie trappings of a good cast, a moody atmosphere and - above all - magnificent Technicolor photography of Arizona shot by cameraman Edward Cronjager; particularly the snowscapes that serve as an imposing backdrop to the early scenes.

Relentless is directed by George Sherman and adapted to screenplay by Winston Miller from the story Three Were Thoroughbreds by Kenneth Perkins. It stars Robert Young, Marguerite Chapman, Willard Parker, Akim Tamiroff and Barton MacLane. Music is by Marlin Skiles and cinematography by Edward Cronjager.

Young plays cowboy Nick Buckley who after being wrongly accused of murder has to stay one step ahead of the law in order to prove his innocence.

On a narrative basis this can hold its head up as being a touch more realistic than other fare of the decade. For sure there be contrivances and itchy coincidences, but nothing that insults the intelligence. Aside form the most appealing technical aspects, where the vistas and colour photography sparkle, the cast are likeable beings who are easy to engage with. There's a bit of thought gone into not making Chapman's gal role a token one, while the plot strand involving the equines in Buckley's life is both interesting and poignant. Action is competently staged by the wily Sherman, who in turn steers the pic safely to the expected conclusion.

A pleasing Oater that while not pushing any sort of boundaries or psychological depth, is sure to entertain fans of 40s and 50s Westerns. 6.5/10

I was really geared up to enjoy this Western. It was high-class and adult in just about every way -- the acting, dialog, photography, scenery, cast, etc. Everything that is except the story. It soon became very boring; I couldn't wait for the movie to end. I fast-forwarded through some scenes. One thing that got on my nerves was the way in the wide open spaces of the desert West, the hero continually came across his lady friend and the bad guys by chance and how the characters could follow and track other characters so easily in the wide open spaces. Even the bad guy confessed on cue at the end by chance and coincidence. Even the evidence against the hero was rather flimsy. Too bad, for it was well-intentioned with good production values.

When you think westerns, Robert Young seldom comes to mind. As an actor, he was more at home in TV's white-collar world of suburbia or a doctor's office. At the same time, he knew his limitations and never tried to be the swaggering tough guy. Here, he low-keys his role perfectly. With the help of a girl drummer, a foal, and a burro, he's tracking a guy across the desert who can clear him of a murder charge. Chapman does well as the stand-up girl, while she and Young manage several charming scenes together.

All in all, it's a rather affecting little outdoor western, made at a time when horses and dogs were popular movie fare. Here, the two critters are blended nicely into the main plot, and I like the way the foal disappoints expectations by growing into a rather homely, undersized adult. That seems to say, a critter doesn't have to be big and beautiful—as in most movies-- to be worthy of affection. Note too, how Nick (Young) challenges convention by talking up women's equality at a time when Westerns-- more than most genres-- held women to domestic roles.

Also, there's an absolutely stunning Technicolor sunset about two-thirds of the way through that's the equal of any postcard framing I've seen. Plus, take a gander at all the movie's crusty old coots, Wright, Bevans, Patterson, et al., which seems to be missing only Gabby Hayes in its Hollywood lineup. Not everything however is roses. I could have done without the rather clumsy Tamiroff-Mazurki subplot, while the logic of some events does remain a stretch.

Nonetheless, this handsome Columbia programmer remains good family fare, even 60-years later.

This is a well made western that star Robert Young also produced. It includes three solid performances by Young, Marguerite Chapman and Barton MacLane. There is also a fun and somewhat poignant subplot involving a burro and a colt that is most unique. The title comes from the fact that Young's character never gives up in his pursuit of finding a killer. Chapman is highly engaging and real as she stands by her man (Young)with evidence to the contrary. Highly recommended. (Oh, watch for the appearance by Willard Parker as the sheriff. In a scene, towards the end, his physique and attitude remind you that he would have made a pretty good Lone Ranger if the commanding Clayton Moore hadn't been around.)